When she notices some bones missing from a dinosaur skeleton exhibited in the museum, a young girl with a photographic memory tries to discover who has been taking them and why.

EDGAR AWARD WINNER • “ What sets Harlan Coben above the crowd are wit and . . . an entertaining plot.”— Los Angeles Times Book Review ONE OF TIME' S 100 BEST MYSTERY AND THRILLER BOOKS OF ALL TIME In novels that crackle with wit and suspense, Harlan Coben has created one of the most fascinating heroes in suspense fiction: the wisecracking, tenderhearted sports agent Myron Bolitar. In this gripping third novel in the acclaimed series, Myron must confront a past that is dead and buried—and more dangerous than ever before. The home is top-notch New Jersey suburban. The living room is Martha Stewart. The basement is Legos—and blood. The signs of a violent struggle. For Myron Bolitar, the disappearance of a man he once competed against is bringing back memories—of the sport he and Greg Downing had both played and the woman they both loved. Now, among the stars, the wannabes, the gamblers, and the groupies, Myron is embarking upon the strange ride of a sports hero gone wrong that just may lead to certain death. Namely, his own.

A grotesque figure burst into the girl's room. Its head piled with fake curls, its face concealed behind a smiling mask, it wore the rubber gloves of a surgeon or perhaps a mortuary attendant. It seized the girl from behind and chloroformed, suffocated, and finally, decapitated her.

In a novel that’s part comic mystery, part political satire, and part case vignette, a psychiatrist reviews his involvement with a narcissistic national leader who has turned up dead on the consulting room couch. When Peter D. Kramer wrote about his work with psychiatric patients in books like Listening to Prozac and Should You Leave? , Joyce Carol Oates said, “To read his prose on virtually any subject is to be provoked, enthralled, illuminated.” When Kramer switched to fiction, Publishers Weekly wrote, “The depth, quality, and ambition of Kramer’s prose will surprise those expecting a superficial crossover effort.” In his new novel, Death of the Great Man , Kramer uses those literary skills to introduce readers to an unforgettable character, Henry Farber, a well-meaning psychiatrist forced into hiding when the nation’s chief executive—a narcissistic autocrat in his disastrous second term—is found dead on the consulting room couch. From an isolated bungalow, Farber sets out to clear his name while offering an intimate view of a flawed populist leader. What begins as comic mystery and political satire matures into a moving journey of self-exploration and a commentary on the fate of truth-telling in an era when lying has become a norm in public life.